"Without an anti-oppressive framework, museum education is at best upholding a vacant notion of diversity and at worst actively reinscribing and perpetuating privilege by excluding or disempowering visitors with marginalized identities" (143).

"Museums are inherently political...they cannot claim to be neutral spaces given their origins in colonialism and imperialism" (148).

"The future of museums today will rely on understanding the need to resist the legacy of these histories..." (148).

"...allyship as a lived practice" (144).

"Empathy is at the heart of allyship..." (144).

"...connection between the critical thinking required when engaged in true anti-racist, critical pedagogies, and its association with being challenged, or made to feel slightly uncomfortable on the part of the learner" (55).

"...there is some tension between the notion that museum

education programs should be comfortable, safe spaces for everyone to voice their beliefs, no matter what they are on one hand, and the idea that museums are also spaces to question those beliefs on the other" (55).

"If anything goes, she wonders, does the obligation of museums to ensure responsible interpretation go with it? Taken a step further, if it falls to the visitor to create meaning, whatever meaning it is, what responsibility does the institution have toward shaping that meaning-making

process to begin with? Meaning making, or developing a personal connection, was always meant to be the start of interpretation, not the end goal" (55).

"Felton and Kuhn (2007) encourage educators to have visitors struggle somewhat with the personal connections and narratives they develop. How do you know what you know? What made you think of that, and why? What are some hidden assumptions you are making and where did those come from? What action steps can be taken to correct any interpretations based on false assumptions or stereotypes?" (56).

Comprehension: What is the main idea of the artwork?

Application: How would you use the same subject matter to talk about your life?

Analysis: How is your life different than the character in the artwork?

Synthesis: What changes will you introduce to make the artwork more inclusive (of your lived experiences)?

Evaluation: Why did the artist execute the work in such a specific way? What is your opinion?

"For her, if students are already experiencing racism in their lives, then perhaps the educator, regardless of their own race, need not necessarily seek opportunities to discomfort their students about this reality as they are already living it. Indeed, perhaps many students of color endure their own internal struggle or trauma just entering museum spaces, given their racist and colonialist histories. Rather, she prefers to seek opportunities to affirm their safety in these spaces that have historically not tolerated, much less respected or valued their presence" (59).

"...sharing in a follow-up interview that in informal conversations with his colleagues of color they “found that it was important to highlight the participation and achievements of people of color in the museum’s collection” rather than focusing solely on historical and/or contemporary traumas and inequities (personal communication, November 20, 2016)" (59).

point us towards what we can become” (Wecker, 2015, para 9)" (451).

those most negatively affected by racism (Matsuda, 1995; Solórzano & Yosso, 2002)" (453).

“[Secondly, CRT] integrates the two levels of racism: the individual and institutional” (Leonardo, 2013, p. 25) to help us unpack the multifaceted ways in which racist beliefs and practices seep into our personal and professional lives. In other words, we must attend to both the ways in which racism affects our daily interactions (individual) as well as the political, economic, and social systems that shape those interactions (institutional)" (453-454).

"Because art museums were built as monuments to White supremacy and to promote a national cultural identity that normalized Whiteness and structural racism (Kratz & Karp, 2006), we argue that twenty-first century museums that

wish to serve as inclusive and culturally relevant institutions have the responsibility to understand how they play a role in either perpetuating or upending racism. Given their historical legacies and current moves toward inclusivity,

museum education practices offer ripe settings to analyze how the dominant embodiment of Whiteness shapes how we view, discuss, create, and engage multiple audiences in the arts—and how we can transform this" (456).

"...any artwork can serve as an entry point for talking about race, identity, and racism. By using artworks to tell inclusive and multifaceted stories, museum educators can potentially subvert the belief that only certain objects can pertain to certain people or topics" (458).